Dirty Harry at 50: Clint Eastwood’s seminal, troubling 70s antihero

The off-the-leash cop archetype was cemented with Don Siegel’s taut, provocative thriller that neither condemns or condones extreme measures

Harry Callahan is the cop we’ve been warned about. Though this week marks fifty years since Don Siegel’s genre-defining thriller Dirty Harry busted into cinemas with Smith & Wessons blazing, the general profile of dangerous, off-the-leash law enforcement solidified over the last half-decade of public discourse sounds like it could’ve been traced from the film’s example. Played with a scowl of blanket disgust by Clint Eastwood – Paul Newman had passed on the role as “too right-wing” – San Francisco PD’s top inspector is more than your standard-issue misanthrope. He’s an equal-opportunity bigot, contemptuous of every ethnic group rattled off by a fellow officer in a laundry list of slurs. He’ll readily resort to violence in his work, not above a bit of crude torture to extract information from a perp with a bullet wound. And most hazardous of all, he believes himself unanswerable to anyone but God, who he’d probably just meet with the same glowering frown.

From its earliest stages of development, the script conceived by husband-and-wife team Harry and Rita Fink made clear that Harry’s no boy Scout, but partisans on either side of the ideological aisle looking for affirmation in their stance will be disappointed. Those with hopes for an out-and-out denunciation of this brutish approach to policing have another thing coming, the coarser methods often validated by necessity, as if Harry’s the last line of defense for a society teetering on the brink of anarchy. (The guy can’t even get a hot dog without a bank robbery demanding his attention.) Any gung-ho types walking away as converted Calla-fans have also missed something crucial, however, blind to his placelessness in the city he’s sworn to protect. Neither condemning nor condoning his actions, the film offers what may be the clearest image of the archetypal cop’s self-perception as the only one willing to do the dirty jobs holding America together, even if it means getting dirty yourself.

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‘We feel pride’: old Western gets new life dubbed in Navajo language

Clint Eastwood’s A Fistful of Dollars is the latest to be dubbed in the Indigenous language set to premiere on 16 November

Manuelito Wheeler isn’t sure exactly why Navajo elders admire Western films.

It could be that decades ago, many of them were treated to the films in boarding schools off the reservation decades ago. Or, like his father, they told stories of growing up gathered around a television to watch gunslingers in a battle against good and evil on familiar-looking landscapes.

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French broadcaster apologises after wrongly killing off Queen and Pelé

Public radio station blames technical glitch for publishing premature death notices online

Reports of the deaths of about 100 unfortunate celebrities have been greatly exaggerated by a French public radio station, which mistakenly published the obituaries of, among others, a very-much-alive Queen, Brigitte Bardot and Pelé.

Radio France Internationale (RFI), the French equivalent of the BBC World Service, on Monday blamed “a technical problem” and apologised for the error, which saw the death notices appear on its website and partner platforms including Google, Yahoo! and MSN before being hastily taken down.

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Kathy Bates: ‘I told Clint that after 50 years, I feel like I’ve hit the big time’

With her fourth nomination for an Oscar, Kathy Bates talks about overcoming brutal criticism about her looks, her pride at playing real women and why she loved working with Clint Eastwood

‘Oh, I’m a bumper!” says Kathy Bates as I reach out to shake her hand. A small fist comes towards me with a large, round, pink-rose ring on the middle finger. We bump and laugh and one of the truly unique American acting powerhouses of the past half-century beams back at me. She has a splendid smile, full of mischief and wisdom: a small and compact woman buoyed by that straight-up, unfeigned southern warmth that abides no matter where you encounter it. She fusses over me kindly, offering drinks – a world away from the nervous, shy, deeply rattled and easily hurt woman I have just watched in Clint Eastwood’s new movie, Richard Jewell.

Bates plays Bobi, the mother of the eponymous character, a security guard at the 1996 Olympics in Centennial Park, Atlanta, who discovered a backpack full of pipe-bombs, laid by white-supremacist terrorist Eric Rudolph, minutes before it exploded. Although one person died and 111 were injured, Jewell saved countless lives by clearing the area before the bombs exploded. But within days he found himself under a nationwide spotlight as the FBI focused on him as their chief suspect.

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Royals, rogues and Rudolf Nureyev: the best films of 2019

Christian Bale plays Dick Cheney, Nicole Kidman goes undercover, Olivia Colman is Queen Anne and Timothée Chalamet gets addicted to meth

Dir: Yorgos Lanthimos
Olivia Colman excels as an emotionally wounded Queen Anne in a bizarre black comedy of the English Restoration court, directed by the Greek auteur Yorgos Lanthimos. It is based on the true story of two noblewomen creating a horribly dysfunctional love triangle by competing for the queen’s favours: Sarah, Duchess of Marlborough, and Abigail, Baroness Basham – played by Rachel Weisz and Emma Stone.
UK release date: 1 January

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